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12 January – 18 February, 2006

For ACME Fine Art’s first exhibition of 2006, gallery Director David Cowan has assembled an extraordinary collection of mid-century paintings by one of America’s original action painters, George McNeil. The exhibition will open on Thursday 12 January 2006 with a reception for 6 to 8 in the evening, and it will feature more than a dozen vintage oil paintings by McNeil, who is generally regarded as one of the 20th Century”s top expressionist painters.

McNeil’s lengthy and illustrious career as an artist and educator spanned more than sixty years. Remarkably, his work was consistently avant-garde throughout his career. Always an expressionist, McNeil’s early work picked up where his studies with Jan Matulka, Vaclav Vytlacil, and Hans Hofmann in the late 1920s and early1930s left off. His work evolved from the post-cubist abstract expressionism of the late 1930s through the figural expressionism of late 1960s and 70s to emerge as full-blown neo-expressionism from the 1980s forward. Recent museum and gallery exhibitions of McNeil’s work have focussed on the dramatic late paintings for which he is well known; however, ACME Fine Art’s January exhibition will feature a fine and rare group of McNeil’s abstract expressionist paintings that were created between 1949 and 1969.

George McNeil is considered a first generation New York School artist. He was present for and a first hand participant in the birth of abstract expressionism, but even prior to that McNeil had earned a place in American art history of the twentieth century. In 1936 McNeil, and a small group of modern artists that included Ibram Lassaw, and Ilya Bolotowsky founded the American Abstract Artists group. Later in the same decade McNeil was one of only a handful of non-objective painters to be included in the New York World’s Fair Exhibition of 1939. Along with Franz Kline, Willem DeKooning, and Giorgio Cavallon, McNeil was one of the original stable of artists who showed their work with Charles Egan at his ground-breaking New York gallery in the late 1940s and early 1950s. Most of the paintings assembled for ACME Fine Art’s current exhibition have not been exhibited since they were originally shown as contemporary at the Egan, Poindexter, and Howard Wise Galleries in New York in the 1950s and 1960s. Each painting selected for the exhibition constitutes abstract expressionism in its purest form. Each is directly and spontaneously expressed using color and texture in ways that are characteristic only to George McNeil.

ACME Fine Art’s exhibition GEORGE MCNEIL: At Mid-Century will run through 18 February 2006. Gallery hours are 11 to 5:30 p.m. Tuesday through Saturday. Exhibition catalogues are available through the gallery. ACME Fine Art is located at 38 Newbury Street in Boston’s Back Bay. For further information please contact the gallery at 617.585.9551, or info@acmefineart.com.


17 November – 23 December, 2005

ACME Fine Art and Design’s next gallery event will be the opening of a group exhibition titled PIONEERS OF MODERNISM: Agnes Weinrich, Grace Martin Taylor, & Blanche Lazzell. The exhibition will feature more than twenty works by these highly regarded modern artists. The show will open with a reception on Thursday 17 November 2005 from six to eight o’clock, and will run through Friday 23 December 2005.

Weinrich, Taylor, and Lazzell were important players in the avant-garde art scene that flourished in Provincetown Massachusetts early in the last century. Each of these well-trained and highly educated women was skilled in drawing and painting, and they were among the earliest advocates/practitioners of white line wood-block (“Provincetown”) print-making. They shared a mutual interest in abstraction that was often derived from cubism, and these formal characteristics are consistently evident in their work regardless of medium. ACME Fine Art’s exhibition will include important oil paintings, drawings, watercolors, white line wood block prints, and some rarely seen wood blocks that were hand-carved by the artists as a part of their print-making process.

ACME Fine Art’s PIONEERS OF MODERNISM will be viewable on this site and at the gallery located at 38 Newbury Street in Boston. Gallery hours are from 11:00 to 5:30 Tuesday though Saturday. Further information can be obtained by contacting the gallery at info@acmefineart.com or calling 617.585.9551.


14 October – 12 November, 2005

ACME Fine Art’s solo exhibitions of paintings by Lillian Orlowsky during the winter of 2002 and the autumn of 2003 focused on the artist’s remarkable oil paintings from the 1940s and 1950s. Following Orlowsky’s passing in August of last year, gallery director David Cowan began planning a memorial exhibition, and immediately concluded that such an exhibition should visually demonstrate the arc of this colorful and talented artist’s lengthy career. The resulting exhibition – which is called Lillian Orlowsky In Retrospect – will therefore include work in a variety of media, and work that dates from as early as 1937 and from as late as 1995. The exhibition will open with a reception on Friday 14 October from 6 to 8 in the evening.

The exhibition will include several early figure drawings from Orlowsky’s days attending the Hans Hofmann Schools in both New York and Provincetown, a fine selection of skillfully conceived oil paintings from the early 1940s through the 1960s, and an excellent group of paintings and drawings on paper that were done in the highly refined, concise idiom that characterized her work from the 1970s until her death. During the late 1940s and early 1950s as abstract expressionism was just beginning to emerge as America’s premier contribution to modernism, Orlowsky supported herself in part by designing textiles, and an excellent selection of her textile designs will also be included in the show. What holds this seemingly disparate body of work together is the amazingly consistent point of view of the artist. The work demonstrates growth and maturation, yet Orlowsky’s completely modern and personal abstract expressionist spirit is imbued in all of it regardless of period.

Lillian Orlowsky: In Retrospect will be on view from 14 October to 12 November 2005 at ACME Fine Art and Design, 38 Newbury Street, Boston, MA, 02116. The gallery is open from 11:00 to 5:30 Tuesday through Saturday, and by appointment.

For further information please contact the gallery at 617 585 9551 or at info@acmefineart.com.


8 September – 8 October, 2005

ACME Fine Art’s autumn season will open with a retrospective exhibition of still life paintings by the noted 20th century modern artist Kenneth Stubbs. The exhibition will be comprised of a fine group of paintings – in a variety of media – that date from between 1934 and 1965. The still life as a genre was an important subject for Stubbs throughout his career, and the paintings selected by gallery director David Cowan for this exhibition demonstrate the lasting vitality of the still life as a subject.

Kenneth Stubbs was a gifted artist and teacher who had an unwavering allegiance to modernism. In the early 1930s he studied in Provincetown with E. Ambose Webster, who is considered by many to be Provincetown’s first important modernist. Webster’s Summer Art School was the first of numerous art schools on Cape Cod to emphasize a modern point of view. Stubbs was one of Webster’s most important students, and Webster became to Stubbs a mentor, an inspiration, and a colleague. Like his mentor, Stubbs was dedicated to the dissemination of modern ideas through his artwork and teaching. He taught for many years at the Corcoran School of Art in Washington D.C., and the Corcoran also became an important venue for the exhibition of his work.

In recent years the Cape Cod Museum of Art and the Provincetown Art Association and Museum have mounted retrospective exhibitions of paintings and drawings by Kenneth Stubbs. ACME Fine Art has represented the artist’s estate since 2002, and in 2003 an exhibition of landscapes titled Shorescapes, was the gallery’s first solo exhibition of Stubbs’ work. It was one of the gallery’s most successful shows to date, drawing an enormously positive response from fans of more traditional forms of expression and from dyed in the wool modernists alike.

Stubbs had a fundamentally clear and consistent artistic vision; yet he, unlike many artists of his generation – was able to grow artistically without ever needing to negate or reject what had gone before. The paintings that comprise the basis for this exhibition were selected to demonstrate the remarkable arc of Stubbs’ growth as an artist. Many of the paintings have not been exhibited since they were contemporary; nonetheless, each has a brilliantly fresh look that is evocative of the best of the period from which they come without losing contemporary appeal. Through his persistent use of universal themes in combination with his rigorous intellectual and artistic point of view, Kennth Stubbs was able to communicate a view of the world that is lasting, and continues to be relevant.

ACME Fine Art’s exhibition of still life paintings by Kenneth Stubbs will open with a reception at the gallery from 6 to 8 o’clock on Thursday evening 8 September 2005. The exhibition will run through 8 October 2005. A catalogue that includes illustrations of twelve paintings from the exhibition and an essay by Gail R Scott are available through the gallery. ACME Fine Art and Design is located at 38 Newbury Street, Boston, Massachusetts, 02116.

For further information please contact the gallery at 617 585 9551 or at info@acmefineart.com.


16 June – 13 August, 2005

Twentieth century American painting from New England’s summer art colonies will be the focus of ACME Fine Art’s summer-long exhibition. The salon style show will open on the16th June and will run through 13 August 2005.

More than thirty artists and over forty works will be included in the exhibition that will present a stylistic cross section of modern art in America. Coastal New England art colonies such as Monhegan Island and Cranberry Island in Maine, and Westport and Provincetown in Massachusetts are the sources for much of the artwork that will comprise the exhibition, and the New England coastline will be the loosely interpreted theme. Artwork from the early twentieth century will include paintings by Blanche Lazzell, Oliver Chaffee, Abraham Walkowitz, Agnes Weinrich, T. Lux Feininger, Jo Cain, John Von Wicht, Vaclav Vytlacil, and Howard Gibbs. Mid-century artists whose work will be represented include: Hans Hofmann, Karl Knaths, Peter Busa, John Grillo, Herman Maril, Philip Malicoat, George McNeil, Nanno de Groot, Kenneth Stubbs, Grace Martin Taylor, Jim Forsberg, Dorothy Eisner, William Freed, Leo Manso, Lillian Orlowsky, and Michael Loew among others. ACME will also feature a fine selection of paintings by late twentieth century and contemporary artists such as Robert Beauchamp, Noa Hall, Rose Basile, Tony Vevers, and Myrna Harrison.

ACME Fine Art and Design is located at 38 Newbury Street, Boston, Massachusetts, 02116. Summer Hours are 11:00 to 5:00 Tuesday through Saturday, and other times by appointment.

For further information please contact the gallery at 617 585 9551 or at info@acmefineart.com.

Artwork from the Collection of William Freed and Lillian Orlowsky

5 May – 11 June, 2005

Lillian Orlowsky and William Freed first became acquainted in 1932 when both artists attended the Educational Alliance in New York. During the mid-1930s they were employed by the Federal Works Project Administration -Orlowsky as a painter in the easel division, and Freed in the mural Division. It was in 1937 that Orlowsky happened to encounter Freed as they waited in line to receive their W.P.A. paychecks. Orlowsky had recently begun taking classes with the controversial teacher Hans Hofmann at his new school in Manhattan, and she enthusiastically recommended that Freed join her in class. Shortly thereafter he did. Thus, Freed and Orlowsky began a personal and professional relationship –partnership if you will- that lasted almost fifty years.

The pair was associated with Hofmann and his schools in New York and Provincetown during the prewar heyday of the abstract expressionist movement. The community of avant-garde artists in New York and in Provincetown of which they were a part became a vital component of their artistic existence. In her later years Orlowsky often spoke eloquently about the collegial atmosphere of the W.P.A. and of the Hofmann School early years and the importance of this collegiality in her development as an artist. Orlowsky and Freed were artists to the core. Their lives were almost totally given over to their artistic pursuits, in Freed’s case for almost fifty years, and in Orlowsky’s almost seventy. They married in 1942, and in the years that followed, Orlowsky and Freed acquired by trade, barter, and/ or gift a sizable group of artworks created by their colleagues and friends. Some of these artists became successful -even famous. Others, are today less well known; nonetheless, Olrowsky and Freed, through the course of their lengthy careers, did assemble a substantial and important group of paintings by their colleagues and friends.

During the later years of her life Orlowsky donated a number of paintings from their collection to several museums, the Cape Museum of Fine Arts, the Provincetown Art Association and Museum, and the Rose Museum at Brandeis University among others. The remaining paintings along with a selection of paintings and drawings by Orlowsky and Freed form the body of the ACME Fine Art exhibition titled: Artwork from the Collection of William Freed and Lillian Orlowsky. This disparate group of modern paintings and drawings were certainly among Orlowsky and Freed’s most cherished possessions. They represent a remarkable selection of mid-century American modern art by some of the twentieth century’s most important artists. Highlights of the exhibition will be six mid-century paintings by Hans Hofmann, canvases by James Gahagan and Alice Hodges, and a fine group of works on paper by George McNeil, Fritz Bultman, and Robert DeNiro Sr.

ACME Fine Art’s catalogued exhibition Artwork from the Collection of William Freed and Lillian Orlowsky will open with a reception on Thursday 5 May 2005, from six to eight p.m. and will run through 11 June 2005. Catalogues are available through the gallery. The exhibition is being mounted in honor of Lillian Orlowsky, who passed away in August of 2004. All of the work in the catalogue is being offered for sale for the first time as a part of this exhibition.

ACME Fine Art is located at 38 Newbury Street in Boston’s Back Bay. For further information please contact the gallery at 617 585 9551 or at info@acmefineart.com.

DOROTHY EISNER, Late Expressionist Paintings

24 March – 30 April, 2005

ACME Fine Art’s Spring season will open with an exhibition vibrantly colorful canvases painted by Dorothy Eisner. The exhibition will commence with a reception between 6:00 and 8:00 p.m. on Thursday 24 March 2005, and will run through 30 April 2005.

Dorothy Eisner’s painting career spanned more than seven decades. It began in the teens when she won several children’s drawing contests. Then, as a teenager she attended the “Arts High School” (Ethical Cultural High School) in New York City. In 1924 Eisner began her studies at the Art Students League where she studied with Boardman Robinson and Kenneth Hayes Miller. In the late 1920s Eisner took three lengthy trips to France, studying briefly at the Academie de la Grand Chaumiere in Paris. The influence of Matisse and Cezanne in her work is evident from this period forward.

Long active in avant-garde art circles in Cranberry Island, Maine, and New York City, Eisner served on the Board of the Society of Independent Artists in the 1930s, having been nominated by John Sloan. In 1941, along with Ilya Bolotowsky, Susie Frelinghuysen, G.L.K. Morris, Adolph Gottlieb, and Mark Rothko she co-founded the Federation of Modern Painters and Sculptors. Then, in the 1950s Eisner studied with Jack Tworkov, and her work became both more expressive and abstract as a result of Tworkov’s influence. While these influences may be important, they in no way diminish the strength of Eisner’s unique artistic vision.

Dorothy Eisner’s work has been exhibited at the Salons of America, the Society of Independent Artists, the Pennsylvania Academy of Fine Arts, the National Association of Women Painters and Sculptors, the New York World’s Fair (1939), the New York Society of Women Artists, the Federation of Modern Painters and Sculptors, and the Brooklyn Museum. The most recent museum exhibition of her work occurred in 1992, when the Farnsworth Art Museum in Rockland Maine mounted a solo exhibition titled: Dorothy Eisner: Paintings and Collages.

For ACME Fine Art’s first solo exhibition of paintings by Dorothy Eisner gallery director David Cowan has elected to focus on work from the 1970s and 1980s. This was a lively and productive period for the artist. The resultant canvases are boldly expressed and brilliantly colorful. They reveal Eisner’s great confidence with the medium and express an infectious joi-de-vivre that delights the eye.

ACME Fine Art is located at 38 Newbury Street in Boston’s Back Bay.. Gallery hours are 11:00 to 5:30 Tuesday through Saturday. For further information please contact the gallery at 617 585 9551 or at info@acmefineart.com.


10 February – 19 March, 2005

ACME Fine Art’s annual exhibition featuring notable twentieth century artists who worked in Provincetown Massachusetts will open with a reception on Thursday evening 10 February from six to eight p.m. The salon style exhibition will feature artwork dating 1907 to 2004 and will include a stylistically diverse selection of work by more than twenty artists.

One particularly noteworthy painting that will be of interest to those who collect early Provincetown paintings is a rare 1916 oil of the waterfront by Reynolds Beal titled The Red Inn, Provincetown. This remarkable example of American impressionist painting is an unusually fine representation of the Provincetown shoreline. Other artwork from the first half of the century will include paintings by, Oliver Chaffee, Howard Gibbs, Blanche Lazzell, Agnes Weinrich, Edwin Dickinson, Grace Martin Taylor, Abraham Walkowitz, Vaclav Vytlacil, and Michael Loew.

From the group of artists associated with Hans Hofmann in Provincetown the exhibition will also include an important 1968 canvas depicting Provincetown rooftops by Robert DeNiro Sr. and summer studio paintings by William Freed and Lillian Orlowsky. Other mid-century artists whose work will be represented include: Karl Knaths, Philip Malicoat, Herman Maril, George McNeil, Fritz Bultman, Peter Busa, Paul Burlin, Nanno de Groot, Kenneth Stubbs, Jim Forsberg, and Leo Manso among others. ACME will also feature a fine selection of paintings by late twentieth century and contemporary artists such as Robert Beauchamp, Tony Vevers, Myrna Harrison, and Rose Basile.

Provincetown Painters 2005 will be on view from 10 February to 19 March 2005.


6 January – 5 February, 2005

ACME fine Art’s first solo exhibition of the work of Michael Loew is comprised of a compact retrospective collection of paintings and drawings that were selected to tell the story of Loew’s career-long interest in geometric abstraction. The works included in the exhibition were executed between 1945 and 1980, and they demonstrate Loew’s remarkable evolution from a stylistic form of expressive nature-based cubism of the 1940s to a highly synthesized neoplastic purism seen in his “Open Space” series of paintings done in the late 1970s.

While the influences of teachers such as Vaclav Vytlacil and Hans Hofmann can be appreciated in his early work, Michael Loew’s adaptation of modern ideas on formal structure and color yielded something completely fresh and original. In her essay Nature Into Abstraction which was published in conjunction with Loew’s 1997 retrospective exhibition at the Farnsworth Art Museum in Rockland Maine, curator Susan Larsen aptly describes Loew’s early geometric work as a “fusion of landscape and radical abstraction.” ACME Fine Art’s January exhibition will feature a series of Monhegan and Provincetown watercolors that date from between 1949 and 1960 that beautifully illustrate the “fusion” described by Dr. Larsen. The exhibition will also feature large-scale “Open Space” paintings that represent the culmination of Loew’s artistic endeavors. These complex, architectonic canvases are surprisingly painterly, and through Loew’s sensitively rendered layers of tone and hue achieve subtle transparencies that result in something that is quietly dynamic and poetically powerful.

The exhibition MICHAEL LOEW Towards Geometric Abstraction will be on view at ACME Fine Art from 6 January through 5 February 2005. On Thursday, 13 January the gallery will host an Opening Reception from 6 to 8 p.m. and on Saturday, 15 January at 3 p.m. Dr. Susan Larsen of the Archives of American Art will give a gallery talk about Michael Loew and his work featured in the exhibition.